Maker's mark D S with a dahlia in the middle for : C. Schoorl & J.A. Dal / J. G. Sauveplanne & F. Hemelrijk, all also known as the firm Dahlia, city of Amsterdam, registered 1920-1958.Minerva head with the regional assay office letter A for Amsterdam. The date letter D is for 1938.The marks used by the firm Dahlia:

BWE conjoined monogram in (double) oval for; B. W van Eldik & A.F. van der Scheer also known as Hollandia Zilversmeden, Zutphen mark used 1917/1950Silversmith Company in Zutphen, founded in 1917 by Bernardus Warnerus van Eldik, decendant of a Zutphen family of silversmiths. The Hollandia Zilversmederij maker's mark BWE in one or two ovals. Hollandia produced a wide range of silverware, mainly in old Dutch style, ranging from teaspoons to bread baskets. The factory closed its doors in 1950

Zaanlandse Zilversmederijen n.v./b.v.

A hammer between two Z for;Zaanlandse Zilversmederijen n.v./b.v., Haarlem & Amsterdam mark used 1920/1990Zaanlandse Zilversmederij with outlets/workshops/factories in Amsterdam and later in Haarlem. They were famous for silver with Old Dutch scenes and silverware copies of older famous styles. Zaanlandse founded in 1875 by Gerardus Schoorl(1848-1915) in Zaandijk. Around the turn of the 19th century Antique Dutch silver was in high demand and Gerardus Schoorl became an active supplier. Zaanlandse Zilversmederij became famous for Old Dutch style silverware and turned into a family owned business. The Zaanlandse Zilversmederij 's factory closed its doors in 1973 and the company ceased to exist in 1990. Also used maker's mark; ZZ in a double square shield with cut corners used 1916-1920For more please see; http://www.925-1000.com/forum/viewtopic ... 118#p60118"

The famous family Gerritsen, silversmiths and factory founders history

In 1866, Johannes Albertus Adolf Gerritsen(1840-1925) founded his jewelery company in Amsterdam, which in 1903 was converted into the N.V. Nederlandsche Fabriek voor Gouden en Zilveren Werken voorheen J.J.A.Gerritsen/ N.V.Dutch Factory for Gold and Silver Works formerly J.J.A.Gerritsen. His sons Johannes Albertus (Albert) (1874-1946) and Marius Johannes (1882-1954) also worked in the factory. Since c. 1895 the company was established at the Looiersgracht in Amsterdam; in 1904 it moved to Zeist (Karpervijver). The two brothers Albert and Marius Gerritsen formed the management. In 1909 Marius left his his father's factory. In 1925 the management of the N.V. Dutch Factory for Gold and Silver Works was expanded and the name was changed to; N.V. (from 1926 Koninklijke/ Royal) Nederlandse Fabriek voor Gouden en Zilveren Werken Gerritsen en Van Kempen/ Dutch Factory for Gold and Silver Works Gerritsen and Van Kempen. In 1960 this factory merged with the company Begeer from Voorschoten and became the name N.V. Koninklijke Nederlandse Fabrieken van Gouden en Zilveren Werken Van Kempen en Begeer/ N.V. Royal Dutch Factories of Gold and Silver Works Van Kempen and Begeer

N.B. In 1910, Marius Johannes Gerritsen founded the Eerste Nederlandse Fabriek van Nieuw-Zilverwerken/ First Dutch Factory of New-Silver Works, the later Gero. In 1922, Marius Johannes Gerritsen bought out of his company, left and started a new company, de N.V. De Nederlandse Metaalwarenfabriek/ the N.V. The Dutch Metalware Factory, later called Sola.

The Gero factory in the city of Zeist, founded 21 0ktober 1912Gero short for Gerritsen & Co

Founded under the name; Eerste Nederlandsche Fabriek van Nieuw Zilverwerken, formerly known in 1910 under the company name; MJ Gerritsen & Co., has become a household name in the Netherlands, which stands for virtue and quality. The Gero factory was founded by Marius Johannes Gerritsen (1882-1954) which in 1909 left his his father's factory to start his own business, along with his brother in law and business partner Julius ter Beek (1888-1967). Marius Gerritsen together with his brother in law Henri Simonis became the first directors. As the result of a conflict about the balance in 1921, between Marius Gerritsen and H.Simonis his brother in law and as such also between Marius Gerritsen’s father, Marius was granted a honorable discharge in 1922. After he left Gero Marius Gerritsen founded Gerrowé, later renamed Sola. Although Gero was hit by the impact of the First World War it managed to introduce various new collections made in Gerozilver and Gero-alpacca. Throughout its existence the Gero factory used a large number of different alloys. The Gero factory made its products in 'New-silver', also called Alpacca and in a silver plated white metal called Gerozilver. However the spoons and forks made out of Alpacca, a white coloured alloy of roughly 60%copper, 20% nickel, 20% zinc & 5% tin, discoloured rapidly and a layer of chromium was applied over the Alpacca and called Gromalca . In addition Gero made products in pewter, called Gero-tin. The name Gerozilver caused confusion and in 1952 New Hallmark rules forced Gero to change the name into Gero Zilvium

Worldwide recognitionIn the early years the company flourished had no competition, the first company to produce quality cutlery for a cheap price. In 1922, a Gero factory was opened in Copenhagen, Denmark to produce for the Scandinavian market. Sales offices were opened in England, Belgium and Germany and the Dutch East Indies and South America were important markets. The Gero factory grew in those years into a well-functioning company. The 12.5 year anniversary of the factory was celebrated in 1925 with the slogan "Gero spans de Kroon" and in the same year the factory name of; Eerste Nederlandsche Fabriek van Nieuw Zilverwerken, voorheen M.J. Gerritsen & Co. Was changed in; Gerofabriek, Fabriek van Nieuw Zilverwerken (Gerofactory, Factory of New Silverworks)

In 1929 the Gero factory, like many other companies, had to deal with the consequences of the Stock Market Crash in America. As a result in 1931, the factory in Copenhagen was closed. In order to meet the demand for cheaper cutlery Gero Zilmeta was introduced, a stainless steel product which required no maintenance and in addition, it was highly suitable for the manufacture of pans, bowls and serving utensils. The Alpacca and Gromalca disappeared from the range of products and replaced by stainless steel Gero Zilmeta.Besides cutlery soon also other utensils were made as dinnerware, napkin rings, finger bowls, bread baskets and candlesticks. In the early years the Gero factory had no own designers. In 1923 the Gero factory teamed up with the famous Dutch decorative artist Chris van der Hoef (CJH). From 1927 products designed by Georg Nilsson (GN) in Copenhagen were also made by Gero in Zeist. And after the closure of the Gero factory in Copenhagen in 1933, Georg Nilsson works in the Gero factory in Zeist Holland until his retirement in 1957. In the 1950ties Georg Nilsson designed child's cutlery Fairy tale sets. See for an example;viewtopic.php?f=26&t=48808&p=147745#p147745Georg Nilsson has been responsible for most of the designs made by Gero, the characteristic; animal motifs, flower and leave motives, hammered surface but also sleek & functional designs.Jan Eisenloeffel JE in circleIn 1929 Gero introduced the cutlery set model nr. 70, designed by Jan Eisenloeffel, a great commercial success, and still made in 1954. Gero claimed the Cutlery set model nr.70, one of the best Dutch Arts & Crafts Industrial design.

Leerdam Glass Factory/designer Andries Copier, cooperation between 1930 and 1933; candlesticks, flower vases, condiment sets and liqueur sets. In the early thirties, there is cooperation with the Plateelbakkerij Zuid Holland Gouda. Earthenware Gouda vases, bowls, candlesticks, ashtrays, bottles and such were in Zeist decorated with Gero-tin. The cooperation with design artists and other factories rose to fame of the Gero factory and participating in important national and international exhibitions. After World War II the Gero factory opened a new branch in Nieuw- Weerdinge, near Emmen, to increase production capacity.

To further increase the production capacity companies/factories were taken over by Gero: Hollandia Plate Hilversum, NV Reppel in Belgium and the German firm P. Bruckmann & Söhne in Heilbronn. The products produced by Bruckmann were manufactured from 1965 under the name 'Gero sterling silver', however, this company proved not to be profitable. In addition, the Gero factory could not handle the fierce international competition and lost market. In 1974 the Gero factory in Zeist was closed. The Gero factory in in Nieuw-Weerdinge managed to stay open in a much reduced form. In 1985 Gero factory/brand name is taken over by the Royal Van Kempen & Begeer in Zoetermeer. Today Gero is still produced .(BK Cookware: The brand Gero and the brand BK are part of BK Cookware bv. BK Cookware bv. is part of the Royal Delft Group. De N.V. Koninklijke Delftsch Aardewerkfabriek "De Porceleyne Fles Anno 1653" (Royal Delft) is the leading producer of authentic Delft Blue ornamental earthenware and modern earthenware. In January 2008, Royal Delft acquired crystal producer Royal Leerdam Crystal and since September 2008 BV Koninklijke Van Kempen & Begeer (owner of the brand names: BK, Gero, Keltum and Royal VKB).

Gero factory maker’s mark for silver item made up till 2000:

Gero silver plate trademark:The D in a circle is not a date letter but a design letter.The N in a circle is a production letter or production mark and various letters of the alphabet were used to keep control of manufacture. These production letters are on all silver-plated items as from 1917.The Gero factory in Denmark used a capital P, probably for Plated.In 1962, the production letters were placed in a square instead of a round circle.Production letters used on plated items as such have no reference to a particular year and to my knowledge a Gero silver plate date/year/mark letter chart does not exist.Gero silver plate the numbers 20, 40, 90 or 100 indicates the grams of pure silver used to silver plate 12 spoons and 12 forks. The higher the number, the higher the thickness of the silver layer (skin) or quality; 20, 40 90 or 100 grams of silver has been used. After 1965 Gero used only 100 grams.Gero Sterling:Gero with Dutch (hall)marks:From left to right: Gero maker's mark for silver, 2nd standard mark silver, Minervahead/assay office mark and date letter P for: 1925

Gero Copenhagen silver plate trademark two towers:

In 1922 Gero opened a factory in Copenhagen, Denmark which produced mainly products for the Danish & Nordic markets. Georg Nilsson born in 1888 Denmark and trained by the famous"Georg Jensen" was hired by Gero in Copenhagen as a designer & craftsman. After the closure of the Gero factory Copenhagen, Georg Nilsson settled in the Netherlands. Georg Nilsson continues to work for Gero in Zeist until he retired in 1957. His work is characterized by, at that time 'peculiar', hammered surface and the use of animal ornaments. Before World War II Nilsson designed cutlery models that were characterized by forms of art deco, hammered form or in the form of a cartouche. After the war, his designs became sleek and functional.

Gero factory used the services of famous designers who marked their designs: Georg Nilsson (GN), Theodorus Hooft (TH) pewter only, Chris van der Hoef (CJH), Jan Eisenloeffel (JE in circle), Rinze Hamstra (RH) pewter only and Andries Copier (C in circle )Designer Dick Simonis (DS in circle), son of the director Henri Simonis, started in 1944 to work for the Gero factory until 1974. After World War II it was in the first place important to bring production back on track and there was no attention to launch new models. In 1955 the Gero factory stopped the production of pewter objects, and only Zilmeta and Zilvium objects were produced. From 1959 Gero also produced Zilduro products with a higher nickel percentage compared to Zilmeta objects.In 1957, after Georg Nilsson retired, the Gero factory employed Ib Jensen, a well-known designer from Denmark, and the son of Georg Jensen. In 1962 Ib Jensen returned, after completing a few designs back to Denmark. Dick Simonis was the only permanent designer employed at the Gero factory. The technically well-designed objects of Simonis are characterized by a sober unadorned line. The influence from Denmark where he had received part of his training is herein clearly visible. A Gero Zilmeta cookware designed by Simonis in 1958 received awards in Brussels and Canada 'because of high quality coupled with a pleasing shape'.Cookware set, Gero Zilmeta, design Dick Simonis, 1958

Gero Hollandia plate for Hotels & Restaurants. The factory: Hollandia Plate made exclusively cutlery and items for restaurants, shipping, etc. For large users.In 1963 the Gerofabriek took over the Hollandia Plate factory in Hilversum and the brand: Gero-Hollandia Plate came into use.See: viewtopic.php?f=18&t=51388&p=159381#p159381

“De Koninklijke Utrechtse Fabriek van Zilverwerken” is a Dutch company in Zoetermeer dedicated to the Art of Silver & Goldsmithing. In 1866 G.F.J. Bauer, the founder of the “Utrechtsche Zilverfabriek S. and J. van Lier & Zn and G.F.W Bauer “, was succeeded by Carel Joseph Begeer (1840-1879) and a little later the factory changed its name to: 'Utrechtse Fabriek van Zilverwerken C.J. Begeer'(in 1868). Carel Joseph Begeer died a young age and was succeeded by his younger brother Anthonie Begeer. At a later stage Anthonie married his brother’s widow Margje Johanna Straver on 1881 April 6. The son of Carel Joseph Begeer (1840-1879) & Margje Johanna Straver, called Cornelis L.J. Begeer, at 1890 worked as a partner under his stepfather/uncle Anthonie Begeer and under his leadership the factory produced, around the year 1900, silver objects in the Art Nouveau style. In 1883 Carel J.A. Begeer was born, son of Anthonie & Margje Begeer-Straver and stepbrother of Cornelis L.J Begeer.

B under 2 stars; C.L.J Begeer , Utrecht mark used 1904/1951

C B above star; C. J.Begeer, Kon. Utrechtse Fabriek van Zilverwerk, Utrecht, mark used 1868/1920Carel J.A. Begeer; Dutch goldsmith, designer of ornamental silver & silver utensils and later became director of Royal Van Kempen, born October 15th 1883 in Utrecht - deceased November 12, 1956 in Voorschoten.Carel J. A. Begeer enjoyed a broad education at home and abroad, both in the fields of trade, Art and technology. In 1904 he was artistic director of the company from his father, and co-partner in 1908, after the death of his father in 1910, he became director. In 1907, his first designs are carried out in silver. Showing Roman naturalist ornaments & medieval influences and art nouveau features.Carel J.A.Begeer used the services of other famous designers, including Chris van der Hoef, Jan Eisenloeffel, Harm Ellens, George Lantman, Gerrit Rietveld and Erich Wichmann. From 1904 until 1907 Jan Eisenloeffel designed metalwork and tableware for CJ Begeer in Utrecht.In 1919 Carel Begeer merged his company with "J. K. Kempen & Zonen' located inVoorschoten and the firm J. Vos located in Rotterdam The name of this newly merged company: de 'Koninklijke Nederlandsche Edelmetaal Bedrijven Van Kempen, Begeer en Vos (K.N.E.B.)'. The workshops of this new company were established in the city of Voorschoten.The company, based in Voorschoten, was reorganized in 1925. C.J.A. Begeer and D. Vos become the new members of the Executive Board. Former director Anthony Everdinus van Kempen left the company to become a director by Gerritsen Zeist a competitor, from that time on called; Gerritsen and Van Kempen (1925-1960). 'Koninklijke Nederlandsche Edelmetaal Bedrijven Van Kempen, Begeer en Vos (K.N.E.B.)' then changed the name into: 'Van Kempen and Begeer'The company now produced less labor-intensive products; series of machine made products.Since 1927 the designers Christa Ehrlich and later the German Emmy Roth joined the company.The depression midst thirties was survived by producing Keltum plate and stainless steel cutlery.In 1960 the merger of the two competing companies Gerritsen en Van Kempen in Zeist and Van Kempen en Begeer in Voorschoten to: Koninklijke Van Kempen & Begeer, established in Zoetermeer, from 1985.Carel Joseph Anton Begeer, in addition to his work as a director of a company, was involved in many administrative activities which include; chairman of the Chamber of Commerce in Utrecht, chairman of the Dutch Chamber of Commerce for Germany, president and board member of The Hague Dutch Society for Industry and Commerce, and country chairman of the Dutch Society for Industry and Commerce, chairman of several museums and an arts & crafts school, and many other functions. For his many services he was awarded the rank of Officer in the Order of Orange-Nassau, he also received various international awards.He also published about his field of expertise like an introduction to the ‘History of the Dutch Goldsmith’. (de 'Geschiedenis der Nederlandse Edelsmeedkunst').

1936 Keltum silver plated hollowware is founded, with its first collection being designed by Gustav Beran.

1960 Merger of bv Koninklijke van Kempen & Begeer.

1986 bv Koninklijke van Kempen & Begeer acquires Gero

1988 bv Koninklijke van Kempen & Begeer acquires BK

2004 Van Kempen & Begeer opens futuristic shop in Utrecht

2005 Establishment of RoyalVKB as international brand.History of Van KempenJ. M. van Kempen (III)Utrecht silversmith (1814-1877)The name Van Kempen has long been a well known established ( household) name in the Dutch silver industry. This is mainly due to Johannes Mattheus (III) van Kempen (1814-1877), the first silver manufacturer to introduce modern production techniques in the Netherlands, to realize his dream of the mass production of silver and decorative objects. In 1858 the company moved from Utrecht to Voorschoten. In 1919 a merger took place with the firms of C.J . Begeer from Utrecht and Jac. Vos & Co. from Rotterdam. A few years later that merger initiated the departure of the Van Kempen from Voorschoten.

Johannes Mattheus van Kempen, joined in the footsteps of his father and grandfather both silversmiths. His grandfather was born in Utrecht in 1764, known as Johannes Mattheus van Kempen (I) and in 1789 admitted as master of the guild of silversmiths. His sons, Pieter Johannes (1790 - 1831) and Johannes Mattheus (II) (1792 - 1831) were also silversmith in Utrecht.

In 1834 Johannes Mattheus (III) (1814-1877) bought a modest shop at the Choorstraat in Utrecht.

He realized that factory made silver production would play an increasingly important role in modern society and it would play down the roll of the traditional handcraft gold smiting. Located at a large medieval building in Utrecht at the Oude Gracht, which he bought in 1851, he ordered to build, a then very modern, steam engine. In this way he could with the help of an increasing number of well-trained employees, realize his dream: the modern way of producing cheaper, but good quality silver objects.

J. M. van Kempen wanted "pure of style" silver designs. In a brochure published in 1851, for the World Exhibition in London, Van Kempen discusses the five styles he used for his silverware: Greek, Gothic, Renaissance, Louis XIV and rocaille.

The main contribution of a Dutch silversmith at the first World's Fair, held in London in 1851, was that of the Utrecht silversmith J.M van Kempen. His entry consisted of five different objects in historical styles. Each style period represented with objects. In an accompanying letter Van Kempen explained that he had tried every style, as faithfully as possible, to interpret. The star of the exhibit was a jewelry box made by van Kempen which according to the silversmith 'exhibits characteristics of the Renaissance'.Under Renaissance Van Kempen understood the style period introduced in the late 15th century in Italy and during the 16th and 17th century in France and England had celebrated triumphs. Like his contemporaries, Van Kempen did not distinguish between the early Italian Renaissance and the later French and English reaction thereof. Hence, in the decoration of the jewelry box motifs from both trends are recognisable: the little heads in the medallions go back to an invention by the Italian sculptor Lorenzo Ghiberti (1378-1442), while the scroll work with which the walls and the edges of the lid are decorated precisely characterises the last phase, which we now call Mannerism. Van Kempen appreciated in the Renaissance, especially the prominent ornamentation - the combination of surface ornament and sculptural elements.The designer of the jewelry box, the painter and illustrator Gerardus Willem van Dokkum (1828-1903), succeeded to merge the past styles into a decidedly 19th-century object. In his design he took on more sculptural elements of his own invention. The most appealing is the dog on the cover, the dog as a guardian of the treasure jewelry. Under his front paw he holds an exact copy of the key to open the jewelry box.

With three of his sons, Johannes Matheus is the founder and first director of the Koninklijke Nederlandse Fabriek van Gouden en Zilveren werken J. M. van Kempen & Zonen te Vooschoten (Royal Dutch Factory Golden and Silver Works J. M. Kempen & Sons in Voorschoten). At the opening of the new factory in 1858 in Voorschoten the predicate "Royal" has been granted to the company. since the sixties of the nineteenth century, English craftsmen were attracted to introduce the latest techniques for producing spoons and forks and famous artists like Willem van Dokkum and Hendrik Jacobus Valk, but also several anonymous designers were responsible for the often surprisingly modern designs of the silver ware produced in Van Kempen's factory.

The increasing prosperity in the second half of the nineteenth century also increased the demand for large silver and silver cutlery. Thanks to the introduction of modern mechanical techniques, the factory Van Kempen could meet with demands. Between 1860 and 1919 surprisingly new styles were introduced, as well traditional styles were maintained. In order to make a profit a plant with several hundred employees, had to be taking into account the tastes of all its customers.At this time the factory production of large silver did not yet reached mass production . Only rarely were there more than three identical models simultaneously made. Mass production was the case with the manufacturing of cutlery and serving spoons, to meet demands, a special cutlery production plant was build . In this period the variation of cutlery increased dramatically; from cheese knives to you name it, each dish had its own spoon or fork & knife.

Van Kempen attached great importance to quality and careful finish of all the objects made. That is why the factory in Voorschoten made numerous commissions for the Royal Family and government institutions. In 1901 the president of the Zuid Afrikaanse Republiek (the old Transvaal ) Paul Kruger gave Van Kempen an important task to make a silver inkstand for Queen Wilhelmina of the Netherlands.

Although Van Kempen in the 20th century also followed internationally recognized styles, sales of silver in the neo-styles continues to be of importance to the plant, new styles & models which at the end of the 19th century were designed under the responsibility of head cartoonist Jacobus Valk. In this period Van Kempen used the services of external artists to create designs, such as decorative artist Karel Sluyterman. His products are characterised by the use of ornate Art Nouveau floral motifs. Also, anonymous artists designed for Van Kempen in this Art Nouveau style.Early last century, besides these exuberant designs, Van Kempen also made products that are simpler and more austere in form. Like tea sets and serving spoons & forks decorated with geometrical designs.The artist Jacobus Valk managed and directed a large number of engravers and drafters, like Jan J. Warnaar who became an important designer at the drawing department. The first ten years of the 20th century Jan Warnaar designed jars, jewelry boxes and spoons decorated with oriental ornaments and gemstones, however in 1922 Jan Warnaar left Van Kempen followed in 1924 by Jacobus Valk who also left Van Kempen. At that time the sculptor Hendrik A. van den Eynde was an important freelance designer for Van Kempen, his masterpiece a symbolic urn, made in 1919, as of today still recognized as a highlight of Dutch Silver Art.With the artists' designs, Van Kempen draw attention and hoped for positive reviews and planned to sell more of the ordinary, modern work. Therefore Van Kempen contracted sculptor Johan Altorf and artisans Tjipke Visser and Francoise Carbasius, whose work were shown by Van Kempen in various exhibitions, like at the yearly Utrecht Fair.

In 1919 the factory merged with the Koninklijke Utrechtsche Fabriek van zilveren werken C.J. Begeer and Jac. Vos & Co. from Rotterdam. The production was continued in the city of Voorschoten under the name of; Koninklijke Nederlandse Edelmetaalbedrijven Van Kempen, Begeer en Vos (KNEB ). After years of internal discord Carl Begeer became director of the firm.

In 1936 the first silver-plated items were produced under the name Keltum.

Since 1868 the Gerritsen family has been involved in the production and supply of silverware.Newspaper add 30th October 1924

Gerrowé, the factory in Zeist was founded in 1922 by Marius. J. Gerritsen, after he left Gero and in 1925 renamed Sola.Cutlery and tableware was made in quality stainless steel, silver plated and sterling silver. In the fifties Sola started manufacturing cookware. Sola’s factory in Zeist, now mainly has a store function, the production takes place elsewhere. Nowadays the company is run by Bert Gerritsen, grandson of Marius.J. Gerritsen. Sola has been manufacturing and distributing its products through dealers and wholesalers, reaching all various sectors of the hospitality industry from hotels and hotel-supply companies, restaurants, airlines, cruise-lines and others.

Fa.(Firm) H. Hooijkaas 1874-2008; Zilverfabriek SchoonhovenSilver Factory, founded in 1874 and led by the successive members of the Hooykaas family. In 1874, the company named; Hooykaas Schoonhovense silver factory was founded by Hubertus Hooykaas and started as a small workshop. Around 1890 the company began to specialised in the electrolytic manufacturing of old Dutch silver. The company became in the thirties the most important silver factory in Schoonhoven and Schoonhoven's main employer, Hooykaas had a major impact on the local Schoonhoven society. The silver factory of Hooykaas, at a large-scale, produced hand made silver. In the boom years the company employed around 150 people. A not inconsiderable part of the company owed its existence to the savings campaigns of the famous Dutch coffee roaster & coffee & tea blender named Douwe Egberts. Among consumers Hooykaas was well known as the supplier of the Douwe Egberts-spoons. Every pack of coffee & tea made by Douwe Egberts, I believe since the late sixties, comes with a points coupon. A certain amount of points could be exchange for coffee cups, silver plated coffee canisters and the famous silver plated spoons with the fancy monogram D.E on it for Douwe Egberts. The coffee coupons of D.E are still by many people collected and every so many years D.E changes the collection of his gift shop.In the nineties, Hooykaas emphasis shifted from production company to a trading company.

HH in a rectangle for; Fa.(Firm) H. Hooijkaas c.v. also known as Schoonhovense zilverfabriek, Schoonhoven mark used 1906/1924.NB. An exact same mark HH in a rectangle has been used by Hermanus Hartman, Schoonhoven 1889/1910, always check date letter.

H 13; Herbert Hooijkaas, Schoonhoven, mark used 1875/1883. Also seen H13. mark used 1883/1909 and H.13 mark used 1875/1909

Phillip HovinghH13 for Phillip Hovingh,Look at the serifs of the letter H Phillip Hovingh, Oude Pekela, registered 1832-1851; often mistaken for the (H13) mark of Herbert Hooijkaas registered (1875-1909) and to make it more complicated it looks like Hooijkaas used a H13 mark with serifs.Herbert Hooijkaas used in a rectangle; H13, H13.(dot) and H.13

Pseudo marks or fantasy marksThe London World Exhibition of 1851 showed some good antique, old school silver pieces to set as an example to follow for the growing silver industries & factories. Not only industrial modern pieces, inspired by old styles became in high demand, the original antique pieces became highly popular too. Around 1860 pseudo marks popped up in The Netherlands, provinces North & South Holland, Friesland & Groningen. Pseudo old marks & fantasy marks were used for competitive reasons, the high demand for antique silver at home and abroad,for silver being old & handmade in the traditional way. The import regulations in the UK and US; antique silver could be imported at a lower duty rate compared to modern silver. However the British importers know the silver items are not old and do sell it at such; being curios cabinet items. The silversmiths of Schoonhoven, the traditional exporter of mostly small silver items to the UK & US, used pseudo marks purely for tax reasons.

H13 up site down, in a rectangle for; Herbert Hooijkaas registered 1875-1909; often mistaken for the (H13) mark of Phillip Hovingh, Oude Pekela, registered 1832-1851 and the pseudo date letter H which is contributed to Hooijkaas but also used by Hendrik Preijer, Hoorn, registered 1896-1909, Both; Hooijkaas & Preijer used variants of the same pseudo marks; H13 (fat, flat serif) for Herbert Hooijkaas (unrecorded), an old ship or pseudo maker's mark, pseudo city mark for Amsterdam, H pseudo date letter.

A miniature made by Herbert Hooijkaas 1875-1883 maker's mark H13: with some of the pseudo/fantasy marks used in Schoonhoven.

Jacobus Helweg (1725-1778), silversmith in Amsterdam between 1753 and 1778 with the maker's mark; IH in an oval. James Helweg was a specialist in hand-forged cutlery. After his death, his son, Roelof took over the business.Double click on image to enlarge

Roelof Helweg (1758-1843), silversmith in Amsterdam between 1778 and 1843 with the maker's mark; RH in oval, RH under a fish and RH under a spoon (after 1812). Roelof was a son of the silversmith James Helweg (1725-1778), from whom he took over the company. Like his father, Roelof Helweg specialized in forged tabel silverware. His sons Roelof Jr. (1792-1844), Jacob (1798-1875) and Henry (1802-1858) were also silversmith

Jacob Helweg (1798-1875), silversmith in Amsterdam between 1822 and 1864 with the maker's mark; JH under a basket in a square and H next to a basket in a rectangle with cut corners. Jacob was a son of the silversmith Roelof Helweg (1758-1843). Jacob probable learned the trade of silversmith by master silversmith Jacob Hendrik Stellingwerff. Jacob Helweg made all kinds of objects, both great work, as little work, cutlery and serving spoons and created all kinds of silver frames for glass and porcelain.Jacob Helweg worked for the firm's Bonebakker, Bennewitz & Sons, Benten & Weddelink. In 1886 Jacob Helweg handed the company to his son Jacob Hendrik Helweg, maker's mark; JH above H3.

Pre fabricated or made by Jacob Helweg ,completed and sold/retailed by the firm Bonebakker

Hendrik Helweg (1802-1858), silversmith in Amsterdam between 1828 and 1858 with the maker's mark; HH under an anchor in a square. Hendrik was a son of the Amsterdam silversmith Roelof Helweg (1758-1843) and learned the trade in his father's workshop. In 1828 he started his own company specializing in table and dessert cutlery and small coffee and tea accessories. Major customers were the Amsterdam firms; Bonebakker & Son Bennewitz & Sons, J. W. Benten & Sons and businesses in The Hague, Utrecht and Rotterdam. After his death his widow and her son Carel Hendrik Roelof continuid the company under the name; Widow H. Helweg & Son.

Carel Hendrik Roelof Helweg (1844-1912), silversmith in Amsterdam between 1875 and 1912 with the maker's mark; H under an anchor and HH under an anchor, both marks in an oval. Henrik was a son of the silversmith Hendrik Helweg (1802-1858). Initially he worked, as of 1875, in the workshop of his mother under the company name of; Wed. H. Helweg & Son. The company supplied to Bonebakker, Benten & Son, Begeer, Voet and Van Arcken. His son Carel Hendrik Roelof Jr. Helweg came in 1901, as an apprentice, in the workshop and continued from 1912 the company with his brother Carl Hendrik, with the maker's mark; WHH under an anchor. This firm existed until 1965

R under a repousse hammer for: Gebr.(Brothers) S. & H. Reitsma or S. Reitsma, registered in the city of Sneek during 1892/1948.Steven Reitsma, born in Sneek on the 19th December 1862 and deceased in Sneek on December the 15th 1948. Hendrik Reitsma, born in Sneek on the 4th of July 1870 and deceased in Deventer on the 2nd of May 1916. Both are the sons of Tjitte Reitsma (1821-1904) and Froukje Posthumus, and grandchildren of silversmith Steven Tjittes Reitsma from Lemmer, who later moved to Sneek.Literature: -. Yearbook Frisian Maritime Museum 1983

Gebr. Roelfsema.R6 in a vertical rectangle with cut corner for: J. H. Roelfsema or Firma Gebr (Brothers) Roelfsema. Other known marks: R6.(dot) in a horizontal rectangle with cut corners and 3 above GR in a square. The brothers Roelfsema were located in the city of Winsum, province of Groningen. Regional assay office Groningen, letter code E. Registered from 1894 till 1910 known for silver purse frames, silver bible locks, small silver boxes and other small silver work.

Gebr. Roelfsema made use of pseudo marks.

The owner of this silver purse frame thought it to be town mark of Zutphen. Not Zutphen, the town mark of Zutphen is without a crown. The marks are Dutch pseudo marks; CP conjoined fake master's mark of Cornelis Papinck ( city of Groningen), crowned cross fake master mark (Groningen),Medieval helmet fake maker's mark of Rintje Jans (city of Leeuwarden), BI fake makers mark of Bernardus Jelgerhuis ( 18th century Frisian silver smith. The silver purse frame probably made in Groningen around the turn of the 19th century or later.

Assayer's identification markC over V with the number 2 is the assayer's mark for; C. Vreedenburgh Jr(Junior)., assayer in the city of Schoonhoven during 1920/1927. The number 2, in the assayer's mark of C. Vreedenburgh Jr indicated silver; 2nd standard or 833 fineness.Mr. Vreedenburgh had five assayer's identification marks ; C over V without a number for general use. C over V with the number 1 for; gold (916) and silver (934) 1st standard, with the number 2 for; gold (833) and silver (833) 2nd standard, with the number 3 for; gold (750) third standard and the number 4 for; gold of 4th standard or 583 fineness

Until 1931 the assayers were personally liable for mistakes in the results of their works.The assayer's identification marks are among others, to identify parts of hollow ware, sometimes also complete items and semi made items, which have been submitted for preliminary assay. After completion the items are submitted for final hallmarking. After checking the identification marks, the items are marked without further assay. The numbers indicate the legal standards of fineness;

The London World Exhibition of 1851 showed some good antique, old school silver pieces to set as an example to follow for the growing silver industries & factories. Not only industrial modern pieces, inspired by old styles became in high demand, the original antique pieces became highly popular too. Around 1860 pseudo marks popped up in The Netherlands, provinces North & South Holland, Friesland & Groningen. Pseudo old marks & fantasy marks were used for competitive reasons, the high demand for antique silver at home and abroad,for silver being old & handmade in the traditional way. The import regulations in the UK and US; antique silver could be imported at a lower duty rate compared to modern silver. However the British importers know the silver items are not old and do sell it at such; being curios cabinet items. The silversmiths of Schoonhoven, the traditional exporter of mostly small silver items to the UK & US, used pseudo marks purely for tax reasons.

RS above 2 for: Rinze Jans Spaanstra registered in the cities of Drachten/Wommels/Berlicum(Frisian) and Nijehaske from around 1843 till 1896. Known to have used those particular set of pseudo marks see: http://www.925-1000.com/forum/viewtopic ... 568#p85568Seen on spoons, the well known pseudo marks; VB and MC both pseudo maker‘s mark, single headed eagle pseudo city mark for Deventer.Rinze Jans Spaanstra registered two maker’s marks; RS above 2 and RS above 158, he is well known to have used this particular set of fantasy marks. MC pseudo maker’s mark, a fern leave another pseudo maker’s mark and a running animal (up site down) the third pseudo maker’s mark. Hallmark Lion Rampant 1, standard mark to indicate silver 934/1000 fineness or 93.4% pure silver used 1814-1953. And with export key mark to indicate 2/3 duty restitution upon export valid 1853 till 1953. Original maker's mark RS above 158 for; Rinze Jans Spaanstra

The Hague pseudo marks used;These pseudo/fantasy marks are typical for The HagueCrowned A; pseudo/fake year letter silver guild The Hague for 1747Lion rampant facing left in a crowned shield; pseudo/fantasy standard mark province of Holland. Actually, the lion rampant is facing the wrong way compared to the original standard mark. Paulus Arnoldus van der Beek has often used this fantasy standard mark T; pseudo/fake year letter Crowned O; pseudo/fake duty free mark for 1807

Most of these “ The Hague” pseudo marks were used between 1880 and 1945 by Paulus Arnoldus van der Beek, his son Arnold, and by their successor Hendrik Poelman. Paulus van der Beek started as a silversmith in Friesland. In 1854 he settled in Workum, from where he moved to Franeker in 1877. In 1880 he left for The Hague, where he died in 1909. His son Arnold continued the business, and transferred his business to Hendrik Poelman in 1923, who continued the business till 1946

Yes pseudo marks can be deceiving. The British Museum metal detector find; Post-Medieval cast silver spoon bowl. Oval; rats tail end to stem extending roughly one third of the way down the bowl. Four marks stamped on the underside of the bowl; three around end of stem ('VB' to left, star/flower at end, crowned lion(?) (rampant to right) and one at edge of the bowl ('BS/2').https://finds.org.uk/database/artefacts ... /id/434919We know better

From left to right; the maker's mark is GG for: Gerit Regtdoorzee Greup, registered in the city of Schoonhoven from 1864/1915( used 4 different maker's marks), Lion Passant above 2, standard mark for large and medium work, 833/1000 fineness used 1814-1953, The Minerva head or Assay office mark with the regional assay office letter M for the city of Schoonhoven, followed by the date letter C for 1912. Until 1931 the assayers were personally liable for mistakes in the result of their work. Until 1931 date letters were considered to be their responsibility marks. When in the course of a year the assayer of a certain office was succeeded by another one, as a consequence the date letters of that office were provided with a distinguishing mark. Usually it was a dot, but commas, crosses and stars also occurred. There are a few date letters bearing two dots; the result of two changes of assayer within a single year.

AH 1 in a rectangle for; Alle de Haas also known as Fa. (Firm) A. de Haas or Th. De Haas, city of Sneek, mark used 1879/1966. His maker's mark is often seen in combination with pseudo marks.

AH above 1 in a square for; Alle de Haas also known as Fa. (Firm) A. de Haas or Th. De Haas, city of Sneek, mark used 1877/1966. His maker's mark is often seen in combination with pseudo marks. From left to right; pseudo city mark for Amsterdam, pseudo standard mark and pseudo year letter.Alle de Haas (1849-1923), founder father of Firm Alle de Haas in 1877, was a very talented master using the old silver techniques in combination with fantasy marks and later with pseudo/fake marks, because antique silver with the old guild marks sold far better than modern hand made silver in the traditional way.Mundus vult decipi, ergo decipiaturFriesland' s interest in antique silver is further encouraged by two exhibitions, both held in Leeuwarden, the first in 1900 and second in 1927. Pseudo old marks & fantasy marks were used for competitive reasons, the high demand for antique silver at home and abroad, silver being old & handmade in the traditional way. The import regulations in the UK and US; antique silver could be imported at a lower rate of duty compared to modern silver. The British importers know the silver items are not old and do sell it at such; being curios cabinet items. The firm of Alle de Haas continued after his death, using the same maker's mark AH 1, until the firm went out of business in 1966.

In Dutch Herinneringslepel or Gelegenheidslepel or Sierlepel and Commemorative spoon or ornamental spoon in English. Commemorative spoons are made ​​to give as a present and to celebrate a special occasion like; baptism, wedding, funeral or historical event. Often the spoons are engraved with dates and names. Some commemorative spoons are plain tablespoons with an inscription.

Dutch silver commemorative spoon, weight 56 gram, length 19.3 cm. The stem cast, and the tip a sailing ship three mast. The bowl hand forged, 7 cm by 4.7 cm. Rat-tail spoon — developed in the later 17th century; with a thin pointed tongue soldered on to the bottom of the bowl to reinforce the joint of the bowl and stem's shoulder . Left of the stem's shoulder and inside upper side of the bowl we see a scratch mark where the assayer took a sample of the silver alloy, to test the silver standard. The back of the spoon's stem, the base of the sailing ship shows a 2nd scratch mark made by the assayer. The location of the marks; on the back of the bowl on the right side of the rat tail.

Marking; a shield with three crosses saltire on a pale surmounted by a crown, the town mark of Amsterdam (Andreas crosses). See L.B. Gans Goud en zilvermerken van Voet, Amsterdam 2014, p.15, year1747. A rampant lion within a crowned shield, the Dutch provincial lion for Holland 1st standard silver 934/1000 fineness, used between 1663 and 1807. A Roman capital N within a circle (cameo), the year letter for 1747.A fish within an oval (cameo) maker's mark for; Andries Vis, registered in Amsterdam 1741-1799, born 1722, died 1799. Workshop located at the Egelantiersgracht, the workshop well advertised by Andries Vis, a prolific maker of cast spoons (cutlery) and silver forged teapots. See K.A. Citroen Amsterdamse Zilversmeden en hun merken p. 200